{"id":3079,"date":"2025-09-06T09:10:17","date_gmt":"2025-09-06T09:10:17","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/3079\/"},"modified":"2025-09-06T09:10:17","modified_gmt":"2025-09-06T09:10:17","slug":"yasuaki-onishi-suspends-thousands-of-copper-foil-molds-in-an-undulating-framework-colossal","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/3079\/","title":{"rendered":"Yasuaki Onishi Suspends Thousands of Copper Foil Molds in an Undulating Framework \u2014 Colossal"},"content":{"rendered":"

Undulating in a Utah Museum of Fine Arts<\/a> gallery, thousands of glimmering casts seem to float throughout the space. For his large-scale installation \u201cStone on Boundary,\u201d Japanese artist Yasuaki Onishi<\/a> has suspended 5,000 copper foils that he molded over river rocks in both Osaka and Salt Lake City.<\/p>\n

Begun in the artist\u2019s studio in Osaka\u2014a city where Japanese copper has been refined for export for around two centuries\u2014the installation then traveled to the museum, which sits less than an hour\u2019s drive from the world\u2019s largest operational open-pit copper mine. Using an element found in both places and mirroring waterways or rippling topography, Onishi connects two seemingly unrelated locations through a common material and industry.<\/p>\n

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The artist has long been interested in how objects interact with their surroundings, especially the relationship between \u201cpositive\u201d and \u201cnegative\u201d space. This spurred a deep dive into molding techniques and unique uses<\/a> of materials, which allow him to explore themes revolving around margins, voids, boundaries, and volume. For the Salt Lake City installation, he considers the relationship between earth, the landscape, and extraction.<\/p>\n

\u201cThe copper foil created by Onishi presents such absence and presence through molding, suggesting that to recognize things, it is essential not only to know the surface but also to richly engage the imagination\u2014and that even with imagination, one cannot see everything,\u201d the museum says. <\/p>\n

For \u201cStone on Boundary,\u201d the thin metal molds create disc- and cup-like shapes that suspend along a wire framework, which reflects the Wasatch and Oquirrh Mountains around Salt Lake City. The installation also marks the artist\u2019s largest to date, spanning 12 x 22 x 14 meters.<\/p>\n

Find more on Onishi\u2019s website<\/a> and Instagram<\/a>.<\/p>\n

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